Tsuruya Nanboku

Japanese: 鶴屋南北 - つるやなんぼく

The first three generations were Edo Kabuki performers, and from the fourth generation onwards they became Kabuki playwrights, with five generations in total. However, the generation was the "Nanboku" generation, and the first two generations were called Nanboku Magotaro. The fourth generation is the most famous.

[Hideo Furuido]

First World

(?-1736) He was the fifth generation of a family with a reputation for being a traveling theatrical performer. He made his way into large theaters and played an active role as a dokekata (a performer in Hokkaido) and as a leader.

[Hideo Furuido]

II

Date of birth and death unknown. Son of the first generation. He inherited the business of a traveling theater, and served as the head of a large theater twice during the Kan'en era (1748-1751).

[Hideo Furuido]

III

(?-1762) The first head of Tsuruya Nanboku. Son of the first head. A Hokkaido outsider who was active during the Kyoho period (1716-1736).

[Hideo Furuido]

IV

(1755-1829) was the first as a playwright. The seventh generation of the family. Known as "Oo Nanboku." He was the son of Ebiya Isaburo, a dyer in Nihonbashi, Edo. In 1776 (An'ei 5), he became an apprentice kyogen playwright, and the following year he was given the surname of the first Sakurada Jisuke and was ranked under the name Sakurada Hyozo. He later changed his name to Sawa Hyozo and Katsutawa Hyozo, married the third's daughter Okichi, and through this connection he also participated in traveling theater and show business. He studied under Kanai Sansho, and from 1786 (Tenmei 6) he devoted himself to kyogen playwright, writing "funny kyogen" using the Hokkaido outsider Otani Tokuji, which was well-received. In 1897 (Kansei 9), he became a playwright for Bando Hikosaburo III, and in 1899, at the age of 45, he became a stand-up playwright. He liked to use snake girls and coffins on stage, which were rare in major plays up until that point, and after receiving positive reviews for his live-action plays such as "Ikijikurabe Hadenanakacho," he wrote the summer play "Tenjiku Tokubei Kokubanashi" for Onoe Matsusuke I in 1804 (Bunka 1), which became his breakthrough work. From then on, he wrote summer kyogen for Matsusuke, and made a name for himself as a writer of ghost stories. In 1806, he became a leading playwright for the troupe of Matsumoto Koshiro V, and spent six years at the Ichimuraza, completing live-action dramas such as "Kachizumo Ukina no Hanabure." In 1811, at the age of 57, he took on the stage name of Matsumoto Koshiro V, became a retired performer, and, consulting with his own son, Naoe Jubei, he opened up new horizons, writing hit kyogen plays for Iwai Hanshiro V such as "Osomehisamatsuukina no yomiuri" and "Kakitsubatairomoedozome." During the Bunsei period (1818-1830), he also wrote for young performers such as Ichikawa Danjūrō VII and Onoe Kikugorō III, and together with leading playwrights under his pupils such as Katsu Tawarazō II (Naoe Jubei), Matsui Kozō II, and Katsui Genpachi, his school was responsible for the majority of new kyogen plays at the three Edo theatres. In 1829 (Bunsei 12), he retired from the "Kinnozaisarushima-gun" (Golden Coin Sarushima District) for the last time, and passed away on November 27th of the same year at the age of 75.

There are over 80 scripts that have been handed down, and in addition to the above, other representative works include the live-action stories "Kokoro no Nazotoke Tairoito," "Dekiaki Hachiman Festival," "Nazo no Obi Chotto Tokubei," and "Kamikakete Sango Taisetsu," revenge stories "Narihibiku Oyatsuno Taiko" and "Ehon Gappo Gatsuji," and the summer plays "The Legend of the Demon Women of the Three Kingdoms" and "Colored Fairy Grass." In addition to "Okuni Gozen Kesho no Sugatami," "Tamamo-no-Mae Kumoi no Hareginu," "The Sword of Narita, the Dharma Pilgrimage," and "The Fifty-Three Stations of a Solitary Journey," his other works include "Sakurahime Azuma Bunsho," "Ukiyogara Hiyoku no Inazuma," and "Soga no Nakamura Enters the Kingdom," and his masterpiece that combines these elements is "Tōkaidō Yotsuya Kaidan."

His style of play is appealing, with its gruesome murders and love scenes that reflect the decadent social climate of the Kasei period (1804-1830), but his true forte lies in comedic farce. His works use eccentric ideas, such as integrating a wedding and a funeral through haiku-style free association, and the lively development of scenes one after the other, catching the audience off guard, is what makes them so appealing. However, he avoids plot breakdown thanks to his intricate mechanisms inherited from Kanai Sansho, ample foreshadowing, and skillful use of props. This distinctive style, known as the Nanboku-fu style, was eventually refined and classicized by Kawatake Mokuami. Furthermore, although they are not new works, it is also significant that he established the standard editions of works such as "Mitsuhide of the Horse Basin" ("The Letter of the Tokimokikyo Successful Success") and "Kagamiyama" ("Sumidagawa Hana no Goshozome"). He also wrote a collection of volumes under the name of Ubajosuke.

The 8th generation of the family is succeeded by the second generation, Katsu Tawarazo.

[Hideo Furuido]

5th

(1796-1852) Son of the 4th's daughter. He started out as a child actor before becoming a playwright. He first began working in 1821 (Bunsei 4). He was known by the names of Tsurumine Sensuke, Tsurumine Ushizaemon, Tsuruya Magotaro, and Ubajosuke, and became the 5th in 1837 (Tenpo 8). As a playwright for Onoe Kikugorou the 3rd, he was mainly involved in adding corrections to the 4th's older works. His disciples included Segawa Jokou the 3rd and Kawatake Mokuami.

[Hideo Furuido]

"Complete Works of Tsuruya Nanboku, edited by Masakatsu Gunji et al., 12 volumes (1971-74, Sanichi Shobo)"

"Osomekyumatsuiro Yomihan"
Written by Tsuruya Nanboku IV, published in 1831 (Tenpo 2), held at the National Diet Library ">

"Osomekyumatsuiro Yomihan"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

3世までは江戸歌舞伎(かぶき)の道外方(どうけかた)で、4世から歌舞伎作者となり、5世まである。ただし代数は「南北」の代数で、2世までは南北孫太郎を名のった。4世がもっとも名高い。

［古井戸秀夫］

初世

（？―1736）旅芝居の株をもつ家系で5世にあたる。大芝居に進出し、道外(どうけ)方、頭取として活躍。

［古井戸秀夫］

2世

生没年不詳。初世の子。旅芝居の株を継ぎ、大芝居では寛延(かんえん)年間（1748～51）に二度頭取を勤めた。

［古井戸秀夫］

3世

（？―1762）鶴屋南北の初世。初世の子。享保(きょうほう)期（1716～36）に活躍した道外方。

［古井戸秀夫］

4世

（1755―1829）作者としては初世。家系7世。「大(おお)南北」と称される。江戸・日本橋の紺屋(こうや)海老屋伊三郎の子。1776年（安永5）に狂言作者の見習いとなり、翌年から初世桜田治助(じすけ)の苗字(みょうじ)をもらい桜田兵蔵の名で番付に載る。その後、沢兵蔵、勝俵蔵(ひょうぞう)と改名、3世の娘お吉をめとり、その縁で旅芝居や見せ物の興行にも加わる。金井三笑(さんしょう)に師事し、86年（天明6）以降狂言作者に専心、道外方大谷徳次を使った「おかしみの狂言」を書き、認められる。97年（寛政9）に3世坂東(ばんどう)彦三郎付きの作者となり、99年に45歳で立(たて)作者となる。それまでの大芝居には少ない見せ物の蛇娘(へびむすめ)や棺桶(かんおけ)を舞台のうえに好んで使い、『誧競艶仲町(いきじくらべはでななかちょう)』など生世話(きぜわ)物に好評を得たのち、1804年（文化1）に初世尾上(おのえ)松助のために夏芝居『天竺徳兵衛韓噺(てんじくとくべえいこくばなし)』を書き、これが出世作となる。以降、松助のために夏狂言を書き、怪談物の作者として名をなす。また、1806年から5世松本幸四郎一座の立作者となり6年間市村座に重年、『勝相撲浮名花触(かちずもううきなのはなぶれ)』などで生世話物を完成させた。11年、57歳で4世を襲名、隠居格となり、実子直江重兵衛を相談相手に新境地を開き、『於染久松色読販(おそめひさまつうきなのよみうり)』『杜若艶色紫(かきつばたいろもえどぞめ)』など5世岩井半四郎の当り狂言を書く。文政(ぶんせい)期（1818～30）には7世市川団十郎や3世尾上菊五郎ら若手のためにも筆をとり、2世勝俵蔵（直江重兵衛）、2世松井幸三、勝井源八ら門下の立作者とともに江戸三座の新狂言の大半を一門で担った。29年（文政12）『金幣猿島郡(きんのざいさるしまだいり)』を一世一代として引退、同年11月27日に75歳で没した。

　台本が伝わるものは80余種あり、以上のほか代表的なものに、生世話物の『心謎解色糸(こころのなぞとけたいろいと)』『当穐八幡祭(できあきやわたまつり)』『謎帯一寸徳兵衛(なぞのおびちょっととくべえ)』『盟三五大切(かみかけてさんごたいせつ)』、敵討(かたきうち)物の『鳴響御未刻太鼓(なりひびくおやつのたいこ)』『絵本合法衢(えほんがっぽうがつじ)』、夏芝居の『三国妖婦伝(さんごくようふでん)』『彩入御伽艸(いろえいりおとぎぞうし)』『阿国御前化粧鏡(おくにごぜんけしょうのすがたみ)』『玉藻前御園公服(たまものまえくもいのはれぎぬ)』『法懸松成田利剣(けさかけまつなりたのりけん)』『独道中五十三駅(ひとりたびごじゅうさんつぎ)』のほか、『桜姫東文章(さくらひめあずまぶんしょう)』『浮世柄比翼稲妻(うきよがらひよくのいなずま)』『御国入曽我中村(おくにいりそがなかむら)』があり、それらの要素を総合した代表作が『東海道四谷怪談(とうかいどうよつやかいだん)』である。

　その作風は、化政(かせい)期（1804～30）の退廃した世相を反映した凄惨(せいさん)な殺しと濡(ぬ)れ場を魅力とするが、本領はおかしみの茶番にある。俳諧(はいかい)式の自由な連想で婚礼と葬礼を一体化するなどの奇想で、場面を次から次へと展開させて観客の裏をいく小気味のよさが売り物。それが金井三笑譲りの緻密(ちみつ)な仕組みと十分な伏線、小道具の巧みな利用などによって筋立ての破綻(はたん)を免れている。南北風とよばれるこの特色は、やがて河竹黙阿弥(もくあみ)によって洗練され古典化する。なお、新作ではないが「馬盥(ばだらい)の光秀(みつひで)」（『時桔梗出世請状(ときもききょうしゅっせのうけじょう)』）、「加賀見山(かがみやま)」（『隅田川花御所染(すみだがわはなのごしょぞめ)』）などの定本を定着させたことも意義が大きい。姥尉輔(うばじょうすけ)の名などで合巻(ごうかん)の作もある。

　家系8世は2世勝俵蔵が継ぐ。

［古井戸秀夫］